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Members of the New London Children’s Choir
Ronald Corp director
Alexander Wells piano
Members of the New London Orchestra

The NLCC celebrates its 25th anniversary with new commissions alongside choral favourites by Britten and others.

Over the past 25 years NLCC has built a tradition of commissioning new music for children’s voices. Previous composers include Joseph Phibbs, Tansy Davies, Diana Burrell, John Woolrich and Gary Carpenter.This tradition, as well as contributing to the body of music available for children’s voices, ensures that choir members have valuable experience working with composers in bringing new works to life. And so it’s fitting that the choir’s 25th birthday be marked by a new body of work.

Launched by Ronald Corp OBE in 1991, the NLCC offers a unique opportunity for children aged 7–18 to learn to sing and to enjoy all kinds of music. Members are offered extraordinary opportunities, appearing with some of the world’s finest symphony orchestras and conductors. They have toured with Nick Cave and The Bad Seeds, performed at numerous charity events and featured on the soundtrack of the 2015 Disney film, Cinderella.

Gail Archer is an international concert organist, recording artist, choral conductor and lecturer who draws attention to composer anniversaries or musical themes with her annual recital series including Max Reger: The Last Romantic, The Muse’s Voice, An American Idyll, Liszt, Bach, Mendelssohn and Messiaen. Ms. Archer was the first American woman to play the complete works of Olivier Messiaen for the centennial of the composer’s birth in 2008; Time Out New York recognized the Messiaen cycle as “Best of 2008” of classical music and opera.

For pianist Rebeca Omordia, continuing her exploration of music by British composers has led to a UK and Romanian tour with cellist, Răzvan Suma; resident cellist and director of the Romanian National Broadcasting Orchestras.

Their programme of British works for cello and piano will include John Ireland's powerful Cello Sonata, Ian Venables' heart-rending ‘Elegy’, and 'Fast Music'; a new work written especially for the tour by Robert Matthew-Walker.

Matthew-Walker is a prolific composer, having written over 160 works, although he is perhaps better-known to classical audiences as a music critic. Written at the request of Omordia, it was the composer’s idea that the piece be called ‘Fast Music’.

“On researching the repertoire, the soloists could find no short fast pieces to contrast with the prevailing slow or moderate ones”, explained Matthew-Walker. “The new work is in a single movement, lasting seven minutes, and is fast throughout, the final bars catching a glimpse of music in a quite different style – but still fast!”

For cellist Răzvan Suma, John Ireland's Cello Sonata was one of the greatest musical revelations; “It is a work full of melancholy and drama - almost brutal at times - and wrapped up in a grandiose and solid sonata structure”, he explained. “I was fortunate to perform the transcription of the work for cello and strings in a live broadcast with the Romanian Chamber Broadcasting Orchestra in Bucharest last summer and I am looking forward to performing it again with Rebeca on tour in 2017.”

"John Ireland's Cello Sonata is one of his darkest works, inspired by the supernatural world of Arthur Machen's writings”, said pianist Rebeca Omordia. “It's full of mystery and poses technical and musical challenges for the pianist. I've played it many times, with cellists Julian and Jiaxin Lloyd Webber and Raphael Wallfisch, and now with the celebrated Romanian cellist, Răzvan Suma, with whom I have performed it in Romania.”

Rebeca’s recent acclaimed performances of John Ireland’s Piano Sonata, ‘Legend’ for Piano and Orchestra and several of the composer’s outstanding miniatures have dazzled audiences and critics alike and in her tour with Răzvan Suma, the duo will be performing the following British and Romanian works:

Sponsored by the Romanian Cultural Institute and the John Ireland Trust, the UK tour is to be followed by performances in Romania and a live broadcast from the Radio Hall in Bucharest on 17th May. Rebeca’s debut recording features Vaughan Williams’s ‘Introduction and Fugue’ with pianist Mark Bebbington and has recently been released on the SOMM label.

The Nash Ensemble is joined by Martyn Brabbins and Roderick Williams for its annual survey of the best in British contemporary music.

Their programme includes works by Huw Watkins and Julian Anderson recently premièred by the Nash. There’s a London première for Sir Peter Maxwell Davies’s A Sea of Cold Flame, the last of his many settings of poems by Orcadian writer George Mackay Brown, two pieces by Colin Matthews, his virtuosic Fuga and a new work specially written for Roderick Williams, and another world première, Simon Holt’s wind quintet. The latter’s title, a hybrid of the Spanish words for ‘bagatelle’ and ‘cobwebs’, reflects its breathtaking lightness of touch.

The seminal minimalist scores of Steve Reich and Terry Riley changed the direction of music in the 1960s, their deft use of repetition and slow harmonic rhythms creating hypnotic soundscapes. Following its sell-out performance in 2015, the London Sinfonietta returns to Nottingham Contemporary with Reich’s iconic New York, Electric and Cello Counterpoints and his Violin Phase before joining University of Nottingham music students for Riley’s improvisatory In C.

The glorious choral sound of The Sixteen captivates and inspires Sir James MacMillan – and his latest major work for them is the climax of this special concert.

In the first half the composer himself conducts Tryst – one of the very first pieces he wrote for the SCO back in the late 1980s. Inspired by his folksong of the same name, this is a showpiece that the Orchestra has performed to great effect all over the world.

“I am in a prison”, György Ligeti once wrote. “One wall is the avant-garde, the other wall is the past, and I want to escape.”

The second event in this new series at Kings Place celebrates one of the 20th century’s most progressive minds. Ligeti found his escape plan – his turning point – in a more spontaneous approach to composition, using free-form drawings to express shape, colour and contour before committing a single note to the page. From the compelling absurdity of Poeme Symphonique for 100 metronomes to the glittering colours of his Melodien, we explore Ligeti’s radical, time-bending compositional methods.

Few contemporary composers have proved as consistently inventive as Thomas Adès. BCMG and the Calder Quartet perform as part of Wigmore Hall’s day-long exploration of his eloquently expressive chamber music, including Adès’ BCMG Sound Investment commission Concerto Conciso and his string quartet Arcadiana.

The delicate, introverted music of György Kurtág deliciously contrasts with the virtuosic, extroverted nature of Gerald Barry’s. Both composers regularly feature in Adès programmes.

An exceptional opportunity to hear the score as the composer himself intended - Shostakovich’s hitherto lost original piano score to the newly restored and expanded avant-garde Soviet masterpiece about the revolutionary 1871 Paris Commune.

Shostakovich’s spectacular first film score, New Babylon, was written when he was just 23 years old and is, alongside The Nose, his most important early dramatic work. Numerous re-writes of the film were demanded even before shooting started and the directors’ final cut completed in December 1928, when the composer was contracted to join the production. His myriad musical quotations matched a fast cross-cut film to produce a work of astonishing complexity and precision unequalled in silent film composition.

However, after two industry preview screenings with the composer himself performing his original solo piano score, the Moscow Sovkino office ordered the removal of over 20% of the film. Re-editing Shostakovich’s score to match proved impossible, parts were incomplete and early performances, a series of debacles, were beyond the abilities of cinema orchestras. Remaining copies of the piano score, destined for smaller cinemas and now unfitted for the re-edited film, were sold off. A rare surviving copy has provided the material for this first public performance.

USSR 1929 Dir Grigorii Kozintsev, Leonid Trauberg 95 min

We're delighted to be joined by John Leman Riley, author of Shostakovich: A Life in Film to introduce the screening.

An original REALITY production, produced and restored by Marek Pytel with Jane Elliott

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Programme to include Schubert Auf dem Strom, Ian Venables' 'Through these Pale, Cold days', and English songs by Gurney, Finzi, Vaughan Williams, W Dennis Browne and Dring. Including a first performance of ‘Visit’ from The colour of words by David Dubery to a poem by Pam Zinnemann-Hope and his setting of Philip Larkin’s poem ‘Home is so sad’.

Music inspired by David Bowie, Jimi Hendrix, The Rolling Stones, The Beatles, Simon and Garfunkel.

And arrangements of:
Where are we now? (David Bowie)
Little Wing (Jimi Hendrix)
I Can't Get No Satisfaction (Mick Jagger and Keith Richards)
Two of Us (John Lennon and Paul McCartney)
Scarborough Fair (Simon and Garfunkel)

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On the occasion of its fortieth anniversary, The Ensemble Intercontemporain has commissioned seven new works from seven different composers. Each of the works will be based on one of the days of the biblical Genesis.

Sir James MacMillan isn’t just one of the most significant artists working in Scotland today: he’s a creative figure of international importance. Any premiere by MacMillan is a major occasion, but his Fourth Symphony takes the Scottish renaissance composer Robert Carver as a starting point for a musical journey of far-reaching power and beauty. “MacMillan’s new symphony holds a candle to Mahler” wrote The Arts Desk of the world premiere in 2015; in this first Scottish performance, MacMillan himself conducts – and shares the stage with young Dutch clarinet star Annelien Van Wauwe in Finzi’s lovely concerto, and the cosmic vision of an elder statesman amongst Scottish composers, John Maxwell Geddes who celebrates his 75th birthday this year.

- Choral music for Passiontide and Easter -
As Easter approaches, Londinium embarks on a musical journey through Holy Week. Beginning with the acclamation of the crowds on Palm Sunday, our programme leads us to the Last Supper, the arrest at Gethsemane, the Crucifixion itself, and finally to the empty tomb and risen Christ on Easter morning. Our sumptuous selection of repertoire includes some of the greatest composers of the Renaissance, (amongst them Taverner, Lassus and Lhéritier), works by the German Romantics and from the Russian Orthodox tradition, and English music by Herbert Howells, Charles Wood, Jim Clements and Giles Swayne. At the heart of our programme is one of the finest new choral works of our time: James MacMillan's profoundly moving setting of the Miserere.

In collaboration with Amherst College’s Parallel Series, the Boston Modern Orchestra Project (BMOP) presents Boston Accent, a pair of spring concerts celebrating world-class composers of contemporary music from the Boston music scene. Joined by one of America’s finest young chamber ensembles, the Claremont Trio, BMOP showcases works by John Harbison, Eric Sawyer, and Ronald Perera, as well as the world premiere of Black Noise by David Sanford.

Hailed as “one of the great amateur choruses of our time (New York Today) for its “full-bodied sound and suppleness (The New York Times),” The Dessoff Choirs continues its 92nd season with a one-evening-only spring concert of repentance. Members of The Dessoff Chamber Choir and Ensemble bring diversity, spirit, and beautiful harmony to the emotionally charged season of Lent. The program includes Bach’s Jesu, meine Freude, Buxtehude’s Herzlich lieb hab ich dich, o Herr, and Barber’s Dover Beach.

Since its formation 15 years ago, EXAUDI has expanded the boundaries of repertoire for vocal ensemble and explored compelling combinations of contemporary and early repertoire.

The clarity and focus of the ensemble’s sound, produced by outstanding individual singers performing as chamber musicians, ideally suits its immersion here in two of Monteverdi’s most expressive madrigals and works by two Franco-Flemish composers who made their reputations in Italy. The madrigal form’s vivacity is also present in EXAUDI’s selections from Salvatore Sciarrino’s 12 Madrigali, settings of nature-themed Japanese haiku created for the 2007 Salzburg Festival, and in James Weeks’s new work for EXAUDI.

Bahr’s 45-minute work is scored for choir, children’s choir, soprano and tenor soloists and large orchestra. It sets poetry of Walt Whitman and Wilfred Owen. The work explores the devastating reality of war and ends with hope for a better future.

In collaboration with Amherst College’s Parallel Series, the Boston Modern Orchestra Project (BMOP) presents Boston Accent, a pair of spring concerts celebrating world-class composers of contemporary music from the Boston music scene. Joined by one of America’s finest young chamber ensembles, the Claremont Trio, BMOP showcases works by John Harbison, Eric Sawyer, and Ronald Perera, as well as the world premiere of Black Noise by David Sanford.

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Matthias Pintscher, the BBC SSO’s Artist-In-Association, curates another evening of works, all originally commissioned for one anniversary or another. Ligeti’s frantic, scuttling culmination of his explorations into musical polyphony was written for the San Francisco Symphony Orchestra’s 60th birthday. Hans Werner Henze’s Seventh Symphony commemorated the Berlin Philharmonic’s centenary and references Beethovenian symphonic form, German dances and the poetry of Friedrich Hölderlin. Olga Neuwirth’s recent work, meanwhile, began as a tribute Mahler to mark the centenary of his death but is inspired by memories of her grandfather’s life by the Danube and is, in her own words, “an impossible attempt to stop time by composing”.

Another chance to hear Beville's Prelude, Etude & Fantasie (2012) in a recital that explores the 'free-fantasy' form for piano and its historical influence from the 18th and 19th centuries to the present day. The programme includes such celebrated 'quasi una fantasia' compositions as Beethoven's 'Moonlight' and Liszt's 'Dante' sonatas.

Boston’s most original and innovative opera company, Odyssey Opera, continues its Wilde Opera Nights series, a season-long exploration of operatic works inspired by the writings and world of Oscar Wilde. For one-night only, Odyssey Opera performs a concert version of Alexander von Zemlinsky’s The Dwarf (Der Zwerg), based on Oscar Wilde’s tale “The Birthday of the Infanta” (libretto by Georg Klaren). Led by conductor Gil Rose, this 90-minute opera is sung in German with projected English translations. Czech tenor Aleš Briscein sings the title role of “The Dwarf”—a return appearance with Odyssey Opera after his lauded performance as Dvořak’s “Dimitrij.”